"Because of the indemnity program, members of
the public get to experience tremendous works of
art that they wouldn't normally be able to see
unless they could travel to the countries of origin.
That's out of reach for most Americans."
>well m, Di
Gallery of Art, Washington, D.C.
"We would nor have been able ro mo
of foreign shows we do without the indemnity pro-
gram," according to Powell. "It would really limir our
options because the insurance costs would just be
Many of the Gallery's shows provide the onlv public
access to rare items. In the case of its exhibition titled
Sculpture of Angkor and Ancient Cambodia: Millennium of
Glory, virtually all of the objects came from sites that
were largely inaccessible for decades due to political
turbulence and isolation. Olmec Art of Ancient Mexico
contained many works from remote provincial sites in
Mexico that receive few visitors. Eao: Art in Japan
l()l 5-1868 gave Americans an unusual chance to
view many wc
apanesc have never seen.
)m private collections that most
This bronze image of the Hindu goo" Vishnu, treated in the 1 !'" century, was i
the National Gallery of Art's 1997 indemnified exhibition Sculpture of Angkor t
Ancient Cambodia: Millennium of Glory. Photo courtesy of the National Gallery of Art.
"The indemnity program allows smaller institutions
like ours to mount exhibitions that we could only
dream about otherwise."
Nancy Netzer, Director
McMullcn Museum of Art, Boston College
"Ii allows us access to superb examples of artists'
works in fpreign collections, many of which have
never before been on public display in America," says
Netzer. One example is the MeMullcn's presentation
of Edvard Munch: Psyche, Symbol and Expression, an examina-
tion oi the style, subject matter and interpretations
of the Norwegian artists works. Many of the shows
83 paintings and prints have rarely, if ever, been on
public display in America, Nearly one-third of them
are being loaned from overseas collections, through the
1 hese kinds of loans enable the museum to add a
new dimension to its exhibitions. "By displaying our
own works of art in context with other works outside
of their immediate realm, we can explore them more
broadly, gaining new insights," Netzer observes.
"1 he interdisciplinary kinds of shows we produce
have raised cultural awareness in our community."
Above: Edvard Munch: Psyche, Symbol and Expression included 28 indemnified
works, among them this painting, Story Night, on loan from Oslo's Munch Museum.
The exhibition, presented by the McMullen Museum of Art at Boston College, provided
Americans a rare look at the works of this fascinating Norwegian artist. Photo
courtesy of the Munch Museum.
The Federal Council on the
Arts and the Humanities
Chairman, National Endowment for the Arts
Chairman, National Endowment for the Humanities
Secretary, Department of Education
"Secretary, Smithsonian Institution
Director, National Science Foundation
Librarian of Congress
^Director, National Gallery of Art
Chairman, Commission of Fine Arts
Archivist of the United States
Commissioner, Public Buildings Service
Secretary, Department of State
Secretary, Department of the Interior
^Secretary of the Senate
^Member, House of Representatives
Secretary, Department of Commerce
Secretary, Department of Transportation
Chairman, National Museum Services Board
Director, Institute of Museum and Library Services
Secretary, Department of Housing and Urban Development
Administrator, General Services Administration
Secretary, Department of Labor
Secretaiy, Department of Veterans Affairs
Jervices. Administration on Aama
'■"Members who do not vote on mdemniiv
Above: The Metropolian Museum of Art in New York has presented many world treasures
through the indemnity program. One of its best-known such exhibitions was Splendors of
Imperial China in 1996. Photo courtesy of the Metropolitan Museum of Art.
Cover: Renoir's Young Girls at the Piano was one of the paintings included in From Renoir
to Picasso: Masterpieces from the Musee de I'Orangerie. While their Paris home was being
renovated, more than 80 works were loaned to the Kimbell Art Museum in Fort Worth,
Texas for this unprecedented exhibition. Photo courtesy of the Kimbell Art Museum.
Indemn ified Exhibitions
Treasures from the First
Emperor of China
The Dead Sea Scrolls
The Art of Seeing:
John Ruskin and the
A Grand Design:
The Art of the Victoria and
Mongolia: The Legacy of
Images in Ivory: Precious
Objects in the Gothic Age
Master-works from Stuttgart:
The Royal Academy of Arts The Romantic Age in
in the Age of Queen Victoria German Art
Dali's Optical Illusions
Edgar Degas: The Many
Dimensions of a
Rings: Five Passions in
Treasures of Tutankhamun
Gifts of the Nile:
Ancient Egyptian Faience
This Detftwore dish portraying Britain's Burghley House was port of on indemnified exhi
that traveled to museums in Ohio, Florida, Louisiana, California and South Carolina. The Cecil
Family Collects: Four Centimes of the decorative Arts from Burghley House was organized and
es International. Photo courtesy oF Burghley House.'
Priceless canvases pa/ited by Picasso, fragile terra cotta warriors
from ancient Chjw(, a gilded Baroque silver tea service used by
nobility in onortft Russia's most opulent palaces. These and other
irreplaceable Tx)jects have been carefully packed in crates and
shipped around the globe so that the American people could enjoy
them and marvel at the cultures that created such astonishing works.
Given the tremendous value of these objects, their owners require
insurance prior to shipping them to Americas museums. The Arts
and Artifacts Indemnity Program was created by Congress in 1975
to minimize the costs of insuring international exhibitions. Since
its inception, the program has indemnified nearly 700 exhibitions,
saving the organizers almost $150 million in insurance premiums.
Two hundred museums in all parts of the United States have par-
ticipated in the program, which helps make it possible for millions
of Americans to see firsthand important works of art and artifacts
from around the globe.
The Indemnity Program is administered by the National
Endowment for the Arts on behalf of the Federal Council on
the Arts and the Humanities. The Council has adopted policies to
reduce risks, such as excluding certain fragile objects from coverage.
By statute, the maximum coverage for a single exhibition is $500
million and the total amount of coverage available for all exhibitions
taking place simultaneously is $5 billion. Participating museums
agree to a sliding-scale deductible that ranges from $15,000 to
$400,000, based on the value of works m the exhibition.
Frans Hals' 77?e Merry Lute Player,
was included in the indemnified
exhibition Dutch and Flemish
Paintings: The Harold Samuel
Collection. The works, organized
and circulated by Art Services
International, traveled from London
to Richmond, Pittsburgh, Boston,
Seattle and Jackson, Mississippi.
Photo courtesy of me Guildhall Art
Gallery, Corporation of London, U.K.
Americans were given the chance to view rare royal treasures, including this oversized
malachite basin, in the indemnified exhibition Strogonoff: The Palace and Collections
of a Russian Noble Family, presented by the Portland Art Museum in Oregon.
Photo courtesy of the Portiond Art Museum.
The Fedet^fl Council on the Art^Snd the Humanities is
authorise! to make indemnity agreements with U.S. non-
prot/ytax-exempt organizations and governmental units for:
• objects from outside the United States while on
exhibition in the U.S.
• objects from the United States while on exhibition
outside the U.S., preferably when part of an exchange
• objects from the United States while on exhibition in the
U.S. if the exhibition includes other objects from outside
the U.S. that are integral to the exhibition as a whole.
Eligible objects include art works, artifacts, rare documents,
books, photographs, films and videotapes. Such objects must
have educational, cultural, historical or scientific value, and
the exhibition must be certified by the U.S. Department of
State as being in the national interest.
Project may begin:
its &.kcjL i^htxTattt
Raphael's ho Women with Children was one of the indemnified works shown as a part
of the exhibition Italian Drawings, 1350-1800: Master Works from the Albertina.
The drawings, organized and circulated by Art Services International, journeyed
from Vienna to Los Angeles and Fort Worth. Photo courtesy of the Albertina.
How to Apply
.Tested in ap
obtain materials nv contacting:
Alice M. Whelihan
National Endowment for the Arts
1100 Pennsylvania Avenue. NAY.
Washington, D.C 20506-0001